Dual Abelian Variety - History

History

The theory was first put into a good form when K was the field of complex numbers. In that case there is a general form of duality between the Albanese variety of a complete variety V, and its Picard variety; this was realised, for definitions in terms of complex tori, as soon as André Weil had given a general definition of Albanese variety. For an abelian variety A, the Albanese variety is A itself, so the dual should be Pic0(A), the connected component of what in contemporary terminology is the Picard scheme.

For the case of the Jacobian variety J of a compact Riemann surface C, the choice of a principal polarization of J gives rise to an identification of J with its own Picard variety. This in a sense is just a consequence of Abel's theorem. For general abelian varieties, still over the complex numbers, A is in the same isogeny class as its dual. An explicit isogeny can be constructed by use of an invertible sheaf L on A (i.e. in this case a holomorphic line bundle), when the subgroup

K(L)

of translations on L that take L into an isomorphic copy is itself finite. In that case, the quotient

A/K(L)

is isomorphic to the dual abelian variety Â.

This construction of  extends to any field K of characteristic zero. In terms of this definition, the Poincaré bundle, a universal line bundle can be defined on

A × Â.

The construction when K has characteristic p uses scheme theory. The definition of K(L) has to be in terms of a group scheme that is a scheme-theoretic stabilizer, and the quotient taken is now a quotient by a subgroup scheme.

Read more about this topic:  Dual Abelian Variety

Famous quotes containing the word history:

    The history of modern art is also the history of the progressive loss of art’s audience. Art has increasingly become the concern of the artist and the bafflement of the public.
    Henry Geldzahler (1935–1994)

    The one duty we owe to history is to rewrite it.
    Oscar Wilde (1854–1900)

    American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
    Harold Rosenberg (1906–1978)